Tag: photography

I was reading Tim Barribeau’s [excellent article on µ4:3 lenses][m43 lenses], when I was taken aback:

> The oft repeated creed of the photojournalist is “f/8 and be there.” You can set this lens to infinite focal length, and anything more than 6 feet away will be in focus, making it great for candid shots.

This goes against my instinct. A 4:3 sensor with a wide-angle field of view, should do better than f/8.

Translation: If you set this lens correctly (to six feet, not infinity), then everything from 3 feet to infinity will be in focus to within the ability of the sensor to resolve (any m4/3 sensor: at f/8 we’re at the diffraction limit of them all).

Now this bodycap doesn’t really have focus or a focus scale, so it is conceivable that the article statement is technically correct. But since this thing only has a focus lock in two positions — .3m and infinity — I have a hard time believing that the infinity focus is actually locked at infinity and not the hyper focal distance, giving it an extra 3 feet of focus room. If it is really set at infinity, then there should be a click stop somewhere at the hyperfocal distance.

I don’t have this lens so I can’t verify. But if the infinity lock doesn’t lock focus at 6 feet (focus down to 3 feet), I’d be surprised. (If it actually is an infinity lock, then I guess the recommendation is to lock at infinity and pull back a bit.)

One of the dangers of “f/8 and be there” is that depth of field is very dependent on distance. When doing macro photography, even f/8 can not be enough. (Unless buttery bokeh is the effect you are intending, like in this photo.

[m43 lenses]: http://thewirecutter.com/reviews/the-first-micro-four-third-lenses-you-should-buy/ “The First Micro Four Third Lenses You Should Buy — The Wirecutter.”
[dofmaster]: http://dofmaster.com/dofjs.html “Online Depth of Field Calculator—DOFMaster”

The folks at [Popular Photography][popphoto] recently published an introductory book, [Take Your Best Shot][tybs]. Since I like introductory works, and I wanted to test what a photography books look like in digital form, I purchased it on my iPad through Apple’s iBooks.

By tip 5, I was confronted with a familiar scene:

I lived in SOMA for a couple years. In fact, I’ve photographed this same scene before (on an SD card that got corrupted), so I made a mental note that next time I was there with a camera, to have another (and my own) take on this “take”. Because [I was visiting Yerba Buena Center for the Arts to see my cousin and her son][ybca post], I had a camera with me, though not the right lens or equipment. That never stopped me.

SFMOMA from the terrace
Yerba Buena Gardens South of Market, San Francisco, California

Nikon D3, Nikkor 24-70mm f/2.8G
9 exposures @ ƒ9, ISO200, 24mm

Handheld, and in a rush to catch up to my nephew, I set my aperture to something non-diffractive and eyeballed the hyperfocal distance with my autofocus and held down the shutter for a bracketed exposure.

Even though I’d have much preferred a wider-angle lens, and the most-level bracket had to be chucked due to ghosting, you’ll notice from my take on the “take” shows I much prefer portrait-oriented landscapes. I find [foreground interest][symmetrical comp] contains details often lost in landscape-mode. It also forces the eye to follow much more rigidly down a path toward the background creating a more dramatic image (which I encouraged with post-processing).

(An added benefit: landscape is the way your eyes sees the world, flipping your camera to portrait-orientation forces you (and the viewer) to see the world differently.)

Next time you are out-and-about with a camera and see a familiar scene. Try to copy what someone else did, then have your own take on their take. You’ll be pleasantly surprised.

(BTW, I have an iPad subscription to Popular Photography Magazine through Zinio. Always have a subscription to one magazine on photography, just to inspire you.)

It’s been four years [since I last wrote about my cousin Juno][thanksgiving chicken]. I haven’t changed much but a baby grows up a lot in that time.

While technically he’s my nephew, he calls me “사촌”—사촌 (sa-chon) means cousin in Korean, so I refer to him as my cousin Juno. And apparently I’m a big hit with him—Juno constantly pesters his parents before family get togethers, “Is Sa-chon Terry going to be there?”

One thing people forget about smaller-sensor cameras is that it is easier to do close-up photography. Even if the subject is a person, it’s okay to crop everything out, just remember to focus on the eyes. The closer the subject the smaller the depth-of-field gets so even with a small sensor, you have to get the focus just right.

Eyes
The Richmond, San Francisco, California

Olympus E-PL3, Lumix G 20/F1.7
1/60sec @ ƒ1.8, ISO500, 20mm (40mm)

What attracted me to photographing Marie was the way the light from the bay windows caught her eyes. Unfortunately, my camera blocked a lot of that.

This camera has face and eye detection. I can even select which eye to prefer (I always select closest eye of the closest subject), but it is not always accurate. This photo suffers a little because the camera mistakenly focused on the distal eye—probably because I am near the close-focusing limit of this lens (the sensor isn’t small enough and the lens is a pancake).

It is interesting my appreciation of this image is interrupted because as the photographer, I see my mistakes: the off-focus and camera [gobo][gobo], but my friends don’t.

### Other tips

Even though the image is highly cropped it’s okay. A closely cropped photo rarely suffers and you can crop a person anywhere as long as it isn’t near a joint. As with “focus on the eyes”, these sort of photographing decisions are derived from our evolution.

Just remember, you will have to retouch the portrait a bit. Soften the skin (a little, not too much) and add definition and saturation to the eyes and lips. You should probably remove some of the color from the whites of the eyes, but I didn’t need to in this photo. Note that retouching tools have gotten very good as computers have gotten very powerful. I didn’t even need to leave Aperture (or use the RAW image) to retouch.

Somewhere along the way, I ran into [Gordy’s Camera Straps][gordyscamerastraps].

Gordon Coale is a guy out in Washington state who hand makes leather camera straps. Last year it occurred to me that one of his straps would perfectly match my [Hirano case][hirano japanexposures] (which you [may have seen before][live view]). Hand straps are simply a good idea for nearly any camera, because they’re the most minimal safety leash for photography: you don’t really need a one normally; but if something bad happens, you’ll be glad you have one around your wrist. Plus, when you do it right, they look gorgeous: